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Come to think of it the 1950‘s were operatically rich years in America compared to other decades in the recent past. Just now the San Francisco Opera laid bare an example, Carlisle Floyd’s Susannah.
Nicholas Hytner’s production of Handel’s Xerxes (Serse) at English National Opera (ENO) is nearly 30 years old, and is the oldest production in ENO’s stable.
On Friday evening September 5, 2014, tenor Stephen Costello and soprano Ailyn Pérez gave a recital to open the San Diego Opera season. After all the threats to close the company down, it was a great joy to great San Diego Opera in its new vibrant, if slightly slimmed down form.
English National Opera’s 2014-15 season kicked off with an ear-piercing orchestral thunderbolt. Brilliant lightning spears sliced through the thick black night, fitfully illuminating the Mediterranean garret-town square where an expectant crowd gather to welcome home their conquering hero.
It is now three and a half years since Anna Nicole was unleashed on the world at the Royal Opera House, Covent Garden.
It was a Druid orgy that overtook the War Memorial. Magnificent singing, revelatory conducting, off-the-wall staging (a compliment, sort of).
There was a quasi-party atmosphere at the Wigmore Hall on Monday evening, when Joyce DiDonato and Antonio Pappano reprised the recital that had kicked off the Hall’s 2014-15 season with reported panache and vim two nights previously. It was standing room only, and although this was a repeat performance there certainly was no lack of freshness and spontaneity: both the American mezzo-soprano and her accompanist know how to communicate and entertain.
In strict architectural terms, the stupendous 2nd century Roman
theatre of Aspendos near Antalya in southern Turkey is not an arena or
amphitheatre at all, so there are not nearly as many ghosts of gored gladiators
or dismembered Christians to disturb the contemporary feng shui as in
other ancient loci of Imperial amusement.
Simon Rattle and the Berlin Philharmonic Orchestra brought their staging of Bach's St Matthew Passion to the BBC Proms at the Royal Albert Hall on Saturday, 6 September 2014.
Every so often an opera fan is treated to a minor miracle, a revelatory performance of a familiar favorite that immediately sweeps all other versions before it.
On August 30, Los Angeles Opera presented the finals concert of Plácido Domingo’s Operalia, the world opera competition. Founded in 1993, the contest endeavors to discover and help launch the careers of the most promising young opera singers of today. Thousands of applicants send in recordings from which forty singers are chosen to perform live in the city where the contest is being held. Last year it was Verona, Italy, this year Los Angeles, next year London.
The second day of the Richard Strauss weekend at the BBC Proms saw Richard
Strauss's Elektra performed at the Royal Albert Hall on 31 August 2014
by the BBC Symphony Orchestra, conducted by Semyon Bychkov, with Christine
Goerke in the title role.
Triumphant! An exceptionally stimulating Mahler Symphony No 2 from Daniel Harding and the Swedish Radio Symphony Orchestra, BBC Prom 57 at the Royal Albert Hall. Harding's Mahler Tenth performances (especially with the Berliner Philharmoniker) are pretty much the benchmark by which all other performances are assessed. Harding's Mahler Second is informed by such an intuitive insight into the whole traverse of the composer's work that, should he get around to doing all ten together, he'll fulfil the long-held dream of "One Grand Symphony", all ten symphonies understood as a coherent progression of developing ideas.
The BBC Proms continued its Richard Strauss celebrations with a performance of his first major operatic success Salome. Nina Stemme led forces from the Deutsche Oper, Berlin,at the Royal Albert Hall on Saturday 30 August 2014,the first of a remarkable pair of Proms which sees Salome and Elektra performed on successive evenings
On August 9, 2014, Santa Fe Opera presented a new updated production of Don Pasquale that set the action in the 1950s. Chantal Thomas’s Act I scenery showed the Don’s furnishing as somewhat worn and decidedly dowdy. Later, she literally turned the Don’s home upside down!
At a concert in the Cathedral of Saint Joseph in San Jose, California, on August 22, 2014, a few selections preceded the piece the audience had been waiting for: the world premiere of Dolora Zajick’s brand new composition, an opera scene entitled Roads to Zion.
This elegant, smartly-paced film turns Gluck’s Orfeo into a Dostoevskian study of a guilt-wracked misanthrope, portrayed by American countertenor Bejun Mehta.
Ossia Il barbiere di Siviglia. Why waste a good tune.
In light of the 2012 half-centenary of the premiere in the newly re-built Coventry Cathedral of Benjamin Britten’s War Requiem, the 2013 centennial celebrations of the composer’s own birth, and this year’s commemorations of the commencement of WW1, it is perhaps not surprising that the War Requiem - a work which was long in gestation and which might be seen as a summation of the composer’s musical, political and personal concerns - has been fairly frequently programmed of late. And, given the large, multifarious forces required, the potent juxtaposition of searing English poetry and liturgical Latin, and the profound resonances of the circumstances of the work’s commission and premiere, it would be hard to find a performance, as William Mann declared following the premiere, which was not a ‘momentous occasion’.
Both by default and by merit Il barbiere di Siviglia is the hit of the thirty-fifth Rossini Opera Festival. But did anyone really want, and did the world really need yet another production of this old warhorse?
01 Dec 2009
No need to rise for this Hallelujah Chorus
ENO did not exactly ‘import a choir of Heathens’ to encourage the Shaws of this world to ‘hasten’ to its version of ‘Messiah’ ‘if only to witness the delight of the public and the discomfiture of the critics,’ the contribution of ‘Heathens’ in musical terms being limited to representing the populace of an initially grey Britain (or so I assume) but for every critic who was discomfited — most of us — there were hundreds of audience members who loved it, so it’s fairly safe to predict a considerable hit.
It was famously said of Mrs Cibber that for her singing of ‘He was despised,’ all her sins should be forgiven, and I can forgive a lot of directorial sins for Catherine Wyn-Rogers’ deeply moving, absolutely committed performance, and for John Mark Ainsley’s characteristic skill in making fluent musical sounds whilst having to perform undignified acts. Sophie Bevan also had a lot to contend with in that ‘Rejoice Greatly’ was taken a little too fast for her, and she had to perform ‘I know that my Redeemer Liveth’ lying flat on a bed, something which no singer ought to be asked to do — those of us familiar with the Glyndebourne ‘Theodora’ will recall how Dawn Upshaw and David Daniels were similarly encumbered at the moment of their deaths, but there it was deeply moving as opposed to annoying, and at least they didn’t have to rise again and don an M&S cardigan. I found it less easy to forgive Brindley Sherratt’s blustery singing — ‘The Trumpet Shall Sound’ was off key and lacking in grandeur.
And did those trumpets sound for us? Did we, despite being committed Atheists, find ourselves saying ‘Wow, maybe there is something to all this religion stuff after all?’ Well, no — but we sometimes do just that after hearing ‘Messiah’ in the concert hall. Handel himself said that whilst composing the Hallelujah chorus, he felt ‘as if I saw God on his throne, and all his angels about him.’ All I felt here was the same sense of embarrassment I experience at the end of one of those services where everyone has to shake hands. The ENO chorus seemed somewhat subdued overall, and needless to say I Ioathed the drippy dancing.
Does it work? Musically, yes, and you would expect no less from Laurence Cummings’ ever-dynamic command of the orchestra, but the staging seemed too calculated to appeal to the ‘Christmas-addict.’ Of course, it’s a Christmas show, and if it brings in people who don’t know ‘Messiah’ then it will have achieved much, but somehow I had expected more from Deborah Warner: her concept of the kind of grey workaday world of which the poet wrote ‘So many, I had not thought death had undone so many’ being transformed by the suffering and death of Christ was a bit too ‘happy-clappy’ for me, and the Christmas-card images seemed trivialized. As for the child who kept running about to no discernible effect, I could have cheerfully shot the little tyke, adorable though he was. Jean Kalman’s lighting, as so often in this house and up the road, illuminated the stage with the most poetic sensibility.
Catherine Wyn-Rogers [Photo by Robert Workman courtesy of English National Opera]
Should you go? Well of course you should — you’ll hear some genuine Handelian singing and playing, and you’ll experience one of the great masterpieces in a new and occasionally refreshing light — just don’t expect to be as moved as you were by the same director’s ‘St John Passion,’ and be prepared to put up with a few squirm-inducing moments.